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How banks have had to adapt ad strategies post-credit crunch
Graham Fowles In most product categories, brands are generally pretty keen to represent their own products or services in advertising. Apple, for one, seems set on demonstrating its wares in creative work. Even at the more functional end of the IT category, Dell is also keen to get its product in front of consumers. However, in financial services, the rules are different. Before the credit crunch, a high proportion of UK-based financial services providers were happier to tell people what they weren’t like and what they didn’t do, rather than produce creative work that simply presented their products or themselves. This approach, which can be thought of as a form of ‘straw man knocking’ copy, allowed clients and their agencies to produce distinctive and often highly amusing creative work. However, as consumers became increasingly concerned about financial risk, this approach seemed flippant and highly inappropriate. Consequently, all these campaigns have been pulled following the credit crisis, to be replaced with fundamentally different work. Meanwhile, those financial brands that have resisted the temptation to develop comparative campaigns are arguably better placed to weather the current downturn because they have been able to offer consumers a consistent, coherent reason to consider them. Examples of UK-based brands that have successfully maintained continuity throughout the past two years include Lloyds TSB, HSBC and Abbey. The Lloyds TSB work, ‘For the journey’, has sought to position the bank as a lifelong partner, using a distinctive creative vehicle which accommodates tactical messages.
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January 26, 2016 By Muhammed Abdullahi Tosin (Follow on Twitter ) Leave a CommentThe Admap Prize 2016
The Admap Prize encourages and rewards excellence in strategic thinking in brand communications. Essays are judged by a panel of the industry’s foremost thought leaders. The Admap Prize is a unique opportunity to have the quality of your ideas recognized by some of the industry’s leading thinkers and for those ideas to be published in Admap magazine, which for half a century has been synonymous with thought leadership and the propagation of ideas. It is an essay-based competition, free to enter, with a $5,000 cash prize to the author of the Gold-awarded essay. Winning essays will be published in a special edition of Admap magazine and on warc.com.
How should marketing adapt to the era of personalization?
$5,000 cash prize
February 15th, 2016
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All other cinema takes place within the atmosphere of one tiny, insignificant planet called "Earth."
Credit: Warner Bros. Universal Studios, Sony Pictures, Twentieth Century Fox, CBS Studios, Disney, Paramount, MGM
In space, no one can hear you spill your popcorn. But we see it floating everywhere, expanding, exploding in slow motion. And it's that dreamlike, otherworldly, heavenly, uncanny feeling that makes us gravitate toward space-themed screens, again and again.
As Douglas Adams wrote in "The Hitchhiker's Guide To The Galaxy ," "Space is big. Really big." It's a place of limitless possibility. Its spatial-temporal vastness suspends disbelief. Space allows for, among other wonders, "Star Trek" creator Gene Roddenberry's "Infinite Diversity in Infinite Combinations" — a ready surplus of places for movie plots.
The substance of all other cinema — every action picture, big-screen drama, comedy, musical, documentary, animated feature, newsreel; every big-budget blockbuster and self-produced short — takes place within the atmosphere of one tiny, insignificant planet. It's called "Earth," in one of the languages spoken by one of its semi-sentient species. This is, of course, equally true of literature: Viewed from the lofty perch of orbit, all other fiction is but a subset of sci-fi.
Sovereign-class starship, registry NCC-1701-E, commanded by Jean-Luc Picard. Enterprise-E appeared in the films "Star Trek: First Contact," "Star Trek: Insurrection," and "Star Trek Nemesis." Heavily damaged in "Star Trek Nemesis," it returned to Earth for refitting in spacedock.
Credit: CBS Studios
Space fiction plotlines bounce back and forth between prose and movie scripts, sometimes stealing outright from one another across decades in unexpected ways. Read Edgar Rice Burroughs' "A Princess of Mars" (1912), and then watch James Cameron's "Avatar" (2009). (But don't see Disney's "John Carter" — I beg you.)
Space is, after all, called "space" for a reason. There's infinite room to fly, hide, love, fight, laugh and fear. Getting beyond the assumptions of Earth allows the filmmaker a much broader canvas on which to paint "What if?"
We go to the movies to escape — and you can't get any farther away than deep space. Our personal disappointments, dramas and emotional dissonances suddenly seem far more distant and diffused. Want perspective? Catch a space flick.
A still from the movie "Apollo 13," a docudrama about a nearly-disastrous NASA mission to the moon.
Credit: Universal Studios
In 70 years of space exploration, a handful of milestone missions have stood out: Vostok 1 in low Earth orbit (1961), Apollo at the moon (1969), Mariner 9 at Mars (1971), Viking at Mars (1976), The Voyagers' grand tours (begun in 1977), Hubble Space Telescope deployment (1990), Clementine over the moon's south pole (1994) and a few more. These missions made model-shattering discoveries that forever altered the trajectory of scientific and commercial endeavors.
So, too, in the space cinema, a few special films set the art off in entirely different directions, on new types of quests, exposing us to new worlds.The biggest screen
Georges-Jean Méliès' 1902 film "A Trip to the Moon" — one of this planet's first science fiction films — drew upon the pulp fiction literature of its day: Jules Verne's "Around the Moon" and "From the Earth to the Moon," and a few other works by lesser-known authors.
A still from the early science fiction movie "A Trip to the Moon."
Credit: Public Domain
Méliès — who made more than 500 films, many of which were sci-fi, fantasy and horror — invented dozens of cinematic special effects, motion photography and staging techniques. And he brought the first aliens to the screen: exoskeleton-clad, bug-headed monsters of the moon. (Neill Blomkamp's "District 9" would echo these creatures 107 years later.) Sadly, the movie industry's winning business model lay undiscovered, years in Méliès' future, and he died a destitute candy salesman, financially undone by the rapacious business practices of Thomas Edison. Méliès' life story could make a good movie (the 2011 film "Hugo" was a partial telling of Méliès' career).
By the 1950s, space in film had mostly devolved to the origin point of cheap, campy creatures inhabiting B-movie horror flicks. These movies seemed designed solely to bring couples together in the one public place that repressive society allowed public mating rituals. Viewers — perhaps your forebearers — clutched each other when the guy in the rubber suit stumbled, snarling on-screen.
And that was all there was to the genre, until "Forbidden Planet" (1956). Drawing together the plot of Shakespeare's "The Tempest" with the hard tech feel of interstellar travel, this risky big-budget film showed what imagination can do to an audience — but only if the filmmakers respect their viewers' intelligence.
"Forbidden Planet," (1956) set a high bar for science fiction films that followed.
Credit: Public Domain
"Forbidden Planet" successfully landed in formerly forbidden filmmaking territory. Never before had a film been set entirely on an alien world, nor had its human characters arrived in a superluminal (faster-than-light) ship. The movie's obligatory monster turns out to be quintessentially human. The warm beauty of ingénue Anne Francis' Altaira character is outshone by the surprising humanity of Robbie the Robot. An all-synthesized music score. alien to the ears of the time, transported moviegoers out of their comfort zone. And Leslie Nielsen created the prototype for starship captains that William Shatner would, a decade later, adopt into "shtick."
In 1968 — the year humans first orbited the moon — Stanley Kubrick brought one of the most beloved space movies of all time to the screen: "2001: A Space Odyssey." Exquisitely detailed spacecraft, designed by Fred Ordway and Harry Lange (both ex-NASA), and true-to-life pop-culture references suspend your disbelief. A storyline stretching longer than the history of the human species blows the hatches off your psyche. The film's pedigreed plot, from author Arthur C. Clarke, hints that humanity's evolution was directed by something from Out There. And Kubrick warns the generations of computer coders who would come after what happens when you give a highly capable artificial intelligence conflicting instructions. (See Space.com's infographic: "2001: A Space Odyssey")
Andrei Tarkovsky's "Solaris" (1972) — and its (1992) Steven Soderbergh remake, both based on Stanislaw Lem's novel — proved that the scariest place in the universe might lie inside the human mind.
In 1977, "Star Wars" introduced us to a galaxy far, far away. 'Nuff said.
The movie poster for "Star Wars: Episode IV - A New Hope."
Credit: Disney/Lucasfilm/Bad Robot
With 1977's "Close Encounters of the Third Kind," Stephen Spielberg lofted the status of on-screen aliens from dirt bags to angels. Finally, the non-faith-based yet near-religious mysticism of advanced intelligent extraterrestrial space travelers, long a trope of science fiction literature, was brought faithfully to the cinema.
Ridley Scott's "Alien" (1979) went the opposite way, showing us the most terrifying alien yet, but finally removing the curse of "camp" from the horror genre in space. Scott and actress Sigourney Weaver gave us the first strong female leader of the sci-fi screen genre with the character Lt. 1st-Class Ellen Ripley. [Watch for Weaver in a new "Alien" franchise film, now in production with director Neill Blomkamp.]
In 1983, Philip Kaufman directed an adaption of Tom Wolfe's book "The Right Stuff." This largely true-to-life docudrama emotionally colors in the black-and-white history of the early United States' "manned" space program. This film deftly shows that the reasons America went to space when it did were as much cultural as technological. And we learn why all astronauts and airline pilots sound the same on microphones.
"The Right Stuff" set the stage for "Apollo 13 " (1995), which — as director Ron Howard once pointed out to this reporter — succeeds even though the film contains no sex, no human violence and no villains.
1999's "Galaxy Quest" proved we fan-folk are not afraid to laugh at ourselves, and at our love of space opera.
"Moon" (2009), from director Duncan Jones, rebooted the genre by bring us back to story instead of visual effects. Isolation amid the universe is something each of us experiences in whatever space we inhabit. And paranoia is sometimes justified; if it weren't a survival skill, we would have probably lost it long ago.
By 2013, with most moviegoers unable to personally recall a time before real-life astronauts, director Alfonso Cuarón brought forth "Gravity ." Sandra Bullock grabs your full attention in every frame, as her castaway character Ryan Stone must confront herself to survive. Space, in this film, is the agent of death and transfiguration. In a 2013 interview with Space.com. Cuarón described "Gravity's" spacecraft-as-cocoon metaphor: Within a ship or a spacesuit, you are temporarily safe, but you must venture out from the nest in order to survive. Each one of us goes through this transition — with varying degrees of success — as we grow up — or try to, or refuse to.
Warner Bros. Pictures' thriller "Gravity" topped the box office its opening weekend with $55.6 million.
Credit: Warner Bros. Pictures
2015's "The Martian ," directed by Scott, quickly paid for itself at the box office. It's another "actor's movie" — a true tour de force for lead Matt Damon. Mars is cast as Scott's "magnificent monster," one that the real NASA and its partners are trying to tame. Space in movies thereafter would just be another setting, like an ocean or a desert. (Read Space.com's exclusive interview with Sir Ridley Scott .)An actor's universe
Up off this mud ball, however, actors and directors can stretch out. Things are often simpler in space — stark choices and sharply definable feelings. Performers and producers can explore different physics, and react in different ways.
Scene from "The Martian," which was released in October 2015.
Credit: ™ and © 2015 Twentieth Century Fox Film Corporation.
Astronaut characters, even badass villains, start from a stature of significance. Audiences look up to high fliers. We come to the theater, or tablet screen, preprogrammed with a need to respect them. We assume they've been tested under pressure. Part of the filmmaker's shorthand is that a spacesuit, however shabby or distressed, is a robe of royalty. Even the weak and weedy ones (looking at you, Luke Skywalker) get a free pass from us.
We watch and we inhabit every astronaut character. We wonder what we would do in their moon boots. Death is always seconds away for any cinematic spacefarer. Through them, we live the naked drama of "me against the universe." As actor Tom Hanks has said, "Whenever I'm in a spacesuit, I'm Dave Bowman," referring to the astronaut character from "2001: A Space Odyssey," played by Keir Dullea.Digital dreams and coming attractions
Since Méliès began the art, depicting space on film has called for ingenuity. Kubrick's "2001" pushed the envelope of analog photographic effects in unexpected directions. "Star Wars" (1977) begot the now legendary effects facilities Industrial Light and Magic (ILM) and Skywalker Sound, and ignited an explosion of digital filmmaking.
Principal photography for James Cameron's "Avatar" (2009) had to wait a more than a decade after it was first scripted for the required filmmaking technology to mature. Cameron teamed his proprietary 3D Fusion Camera System with a powerful digital graphics engine to create "simulcam." This system allowed the writer/director to see, in real time, his actors' performances seamlessly composited in completely computer-generated scenes — and, importantly, to show the actors immediate "in-world" playback while giving notes. George Lucas and Steven Spielberg came to Cameron's set to observe how such augmented reality (AR) could augment filmmaking. (Watch for three "Avatar" sequels — now in production — due to premiere in 2017, 2018 and 2019.)
A ship traverses the unknown frontier of space in "Star Trek" (2009).
Cuarón's "Gravity" (2013) also thrust forward the artful edge of cinema technology. The "Gravity" crew invented a new way to put characters in space by filming them inside a box made essentially of video monitors. This rig projected synchronized lighting detail motivated by the scene. The resulting dramatic performances already contained the lighting, which the yet-to-be-created digital images would "throw." By the time an audience saw them, the only analog element remaining in many shots was Bullock — and sometimes, only her face or hand.
With this new century's marriage of the camera and the computer, directors have no creative limits, only budgetary ones. If you can dream it, you can screen it.
Digital filmmakers no longer use the word "simulate." Now they "realize."
Immersive virtual reality (VR) is in its infancy. Oculus, Samsung and other would-be VR experience providers are contending with hardware. Screen refresh rates are not yet fast enough to convince us we're in VR space without making us puke in the real analog world. But we can see, off in the not-so-far distance, a movie landscape shifted to immersion (you and me in the scene) and, eventually, to interaction (you and me affecting the storyline). Based on cinema's history, it's likely that market demand for escapist entertainment will drive this technology to maturity.
The hardest challenge for the filmmaker, then, will be to "realize" our popcorn floating in space, until we eat it back here in the real world.
[Editor's Note: Be sure to check out Space.com's official list of Best Space Movies in the Universe. and for something a little different, take a look at our list of Strange and Lesser-Known Space Movie Favorites .]Editor's Recommendations
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Japanese anime production company Liden Films recently posted a three-minute new demo reel on its official YouTube channel to introduce its anime titles that were produced from 2013 to March 2016. The company was established by Sanjigen's Hiroaki Matsuura in 2012 and now has three studios in Japan, the main one in Tokyo and two in Kyoto and Osaka. It is currently working on the upcoming TV anime adaptation of Nodoka Shinomaru's slice-of-life fantasy manga Udon no Kuni no Kin-iro Kemari (Golden Kemari in the Udon Country ) for an October 2016 premiere.
The titles introduced in the video:
"Senyu." (January 2013 - April 2013)
"Aiura" (April 2013 - June 2013)
"Miss Monochrome: The Animation" (Otober 2013 - December 2013)
"Wooser's Hand-to-Mouth Life: Awakening Arc" (January 2014 – March 2014)
"Terra Formars" (September 2014 – December 2014)
"The Heroic Legend of Arslan" (April 2015 – September 2015)
"Yamada-kun and the Seven Witches" (April 2015 – June 2015)
"Sekko Boys" (January 2016 – March 2016)
"Schwarzesmarken" (January 2016 – March 2016)
"Kanojo to Kanojo no Neko: Everything Flows" (March 2016)
"Cardfight. Vanguard: The Movie" (September 2014)
"New Initial D the Movie" (August 2014 - February 2016)
Liden Films demo reel 2016
You Tubeにて弊社のデモリール(PV)を公開中です！スタイリッシュな音楽と共に2016年3月までに制作した作品の映像をお楽しみくださいませ(*´ω｀*)（by がーすー)
LIDENFILMS デモリール2016【公式】 https://t.co/L8iseoE69W
— 株式会社ライデンフィルム (@LIDENFILMS) July 21, 2016Related Article
This weekend brings Paul Feig ‘s reboot of Ghostbusters to theaters. Even though the reboot doesn’t really measure up to the high profile of the original, it does offer something exciting for a different demographic and a new batch of young people. While the movie is undoubtedly entertaining, it does have ample shortcomings, specifically in the story department, and that’s something that the original had perfected.
Like any good screenplay, the high quality of the final draft of the original Ghostbusters was a result of careful planning, rewriting and simply compelling storytelling. A new video essay takes a look at how the original concept for Ghostbusters changed from the idea Dan Aykroyd had in his head to the movie we ended up seeing in 1984 and have loved ever since. Check out the Ghostbusters screenplay video essay after the jump.
Here’s “How Ghostbusters Became Ghostbusters” from Lessons from the Screenplay :
By focusing on the premise and designing principle of Ghostbusters. we see how the movie we know began to take shape. While the original Ghostbusters idea was set in the future and featured interplanetary and interdimensional action, director Ivan Reitman saw it more character based, focusing on a group of guys who go into a very unusual business.
This is a creative decision that allowed for much more character based writing, which is one of the strongest aspects of the Ghostbusters screenplay, and something that helps the audience accept the surreal nature of the paranormal story. There are traces of this kind of writing in the first half of Paul Feig’s new Ghostbusters. but it’s put by the wayside for generic blockbuster action in the second half, and the film essentially loses itself.
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Thu, Oct 25, 2012
Warc’s flagship magazine, Admap. today launches the Admap Prize 2013. A $5,000 cash award will be made to the author of the essay that best answers the question: Can brands maximize profits and be a force for social good? (Details at www.warc.com/admapprize2013 )
The Prize is being launched today at the American Association of Advertising Agencies’ Strategy Festival in New York by Warc’s Chief Executive Officer, Louise Ainsworth, and Gareth Kay, Chief Strategy Officer at Goodby, Silverstein and Partners, who is one of the judges for the Admap Prize.
The Admap Prize encourages and rewards excellence in strategic thinking in brand communications. It is an essay-based competition, free to enter, and is unique in its format, focus and global reach. For nearly half a century, Admap magazine has been synonymous with thought leadership and the propagation of ideas.
The deadline for entry to the Admap Prize is January 31st, 2013. An entry form can be found at www.warc.com/admapprize2013. Essays will explore the tension around brands' primary obligation to maximize profit and shareholder value and a new obligation to be a force for good. They will be judged by a distinguished panel of thought leaders in the subject matter, which includes Miguel Pestana, Vice-President of Global External Affairs for Unilever.
The Admap Prize 2013 is sponsored by Kantar. the global insight arm of WPP.
This is the first year that a cash prize will be awarded to the winner of the Admap Prize. Gold, Silver and Bronze awarded essays plus Judges’ Commended essays will be published in Admap magazine and on Warc.com.
Admap Editor Colin Grimshaw said the topic for the 2013 Prize was chosen as it was one of the most hotly debated issues in brand communications today, and a major challenge for brands, big and small, across every region in the world.
He added: “Consumers now expect that brands will not only sell them useful products and services, but that they will make a positive difference to society. This can be manifested in many ways, including making a positive contribution to the environment/sustainability, the community, the quality of life, or in more personal areas, such as health, personal esteem, or simply happiness.
“The question for brands is, are the pursuit of profit and doing social good conflicting objectives, or does one beget the other? Does Corporate Social Responsibility directly add value and grow the business, or is it simply a marketing/PR expense, a cost of doing business?”
Gareth Kay said the Admap Prize was important to planners, and the advertising industry. “It demands that we think about what we do in a fresh, imaginative way, and this year's topic is incredibly timely,” he added.
“If advertising is to be welcome in the world going forward, we need to demonstrate to the industry and our clients that commercial and social imperatives are not mutually exclusive but can be one and the same. I'm looking forward to be challenged and to see what we do differently by judging these entries. And I can’t wait for the debate it triggers."
Mandy Pooler, Director at Admap Prize sponsor Kantar, commented: “Thought leadership is at a premium now, as our clients require guidance through very complex times, hence our joining forces with Admap on this unique scheme. Many of our companies advise in the area of Corporate Responsibility and the chosen topic could not be more relevant.”
Entrants to the Admap Prize can read free articles written by experts on this topic by visiting www.warc.com/admapprize2013. where they will also find more details on the competition and an entry form.
The 2013 Prize will build on the success of the inaugural Admap Prize in 2012, the essay topic for which was Planning 3.0: The Planning Landscape in 2020. The Gold Award was made to Nick Hirst, Head of Brand Planning at London-based agency Dare, for his essay: Why experience architecture is the future of planning.
For Media Enquiries, contact:
Colin Grimshaw, Admap Editor
Tel +44 (0) 207 467 8131
Warc is the global provider of ideas and evidence to marketing people. Warc has become the resource of choice for brand owners, agencies, media owners and market researchers worldwide. Search over 6,000 global case studies on the winning strategies of successful brands from over 50 international sources. Access best practice guides, articles and detailed conference reports from key events influencing the marketing world. Stay ahead of the latest major industry news and trends with our blogs from around the world. We also have comprehensive advertising expenditure data from Asia-Pacific and all other major global economies. Visit www.warc.com/trial for a free trial.
In addition to the online service, Warc publishes five magazines, including flagship magazine Admap, and provides industry data and forecasts and runs insightful conferences.
Admap magazine is a unique forum for the propagation of new ideas, insight and evidence of effectiveness in brand communications across the globe. First published in 1964, Admap has built up an unrivalled reputation for unveiling innovation and best practice in the communications industry. Unlike other magazines in its genre, articles are written by practitioners who are experts in their field - experts in brands, advertising, media, marketing strategy, market research and consumer behaviour.
Admap has been described as the thinking person's marketing bible. It is a serious read that addresses the big issues in brand communications in a rigorous, intelligent and informative manner. Its audience comprises senior executives working primarily in the planning, insight and strategy behind brand communications around the globe.
Admap is published eleven times a year with a joint July/August issue. Its editorial content is also published on Warc.com. To subscribe visit www.warc.com/myadmap
For more information and sample articles visit www.warc.com/admap .
Kantar is one of the world's largest insight, information and consultancy groups. By uniting the diverse talents of its 13 specialist companies, the group aims to become the pre-eminent provider of compelling and inspirational insights for the global business community. Its 28,500 employees work across 100 countries and across the whole spectrum of research and consultancy disciplines, enabling the group to offer clients business insights at each and every point of the consumer cycle. The group’s services are employed by over half of the Fortune Top 500 companies.
For further information, please visit us at www.kantar.com